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262 and Negro material by all of the major forms of contemporary art, some of them independently of any transfer that might be dismissed as a mere contagion of fad or vogue, is striking, and ought to be considered as a quite unanimous verdict of the modern creative mind upon the values, actual and potential, of this yet unexhausted reservoir of art material.

There is a vital connection between this new artistic respect for African idiom and the natural ambition of Negro artists for a racial idiom in their art expression. To a certain extent contemporary art has pronounced in advance upon this objective of the younger Negro artists, musicians and writers. Only the most reactionary conventions of art, then, stand between the Negro artist and the frank experimental development of these fresh idioms. This movement would, we think, be well under way in more avenues of advance at present but for the timid conventionalism which racial disparagement has forced upon the Negro mind in America. Let us take as a comparative instance, the painting of the Negro subject and notice the retarding effect of social prejudice. The Negro is a far more familiar figure in American life than in European, but American art, barring caricature and genre, reflects him scarcely at all. An occasional type sketch of Henri, or local color sketch of Winslow Homer represents all of a generation of painters. Whereas in Europe, with the Negro subject rarely accessible, we have as far back as the French romanticists a strong interest in the theme, an interest that in contemporary French, Belgian, German and even English painting has brought forth work of singular novelty and beauty. This work is almost all above the plane of genre, and in many cases represents sustained and lifelong study of the painting of the particularly difficult values of the Negro subject. To mention but a few, there is the work of Julius Hüther, Max Slevogt, Max Pechstein, Elaine Stern, von Reuckterschell among German painters; of Dinet, Lucie Cousturier, Bonnard, Georges Rouault, among the French; Klees van Dongen, the Dutch painter; most notably among the Belgians, Auguste Mambour; and among English painters, Neville Lewis, F, C. Gadell, John A. Wells, and